"Colossus of Rhodes The Colossus of Rhodes () was a statue of the Greek sun-god Helios, erected in the city of Rhodes, on the Greek island of the same name, by Chares of Lindos in 280 BC. One of the Seven Wonders of the Ancient World, it was constructed to celebrate Rhodes' victory over the ruler of Cyprus, Antigonus I Monophthalmus, whose son Demetrius I of Macedon unsuccessfully besieged Rhodes in 305 BC. According to most contemporary descriptions, the Colossus stood approximately 70 cubits, or high—the approximate height of the modern Statue of Liberty from feet to crown—making it the"
"Helios Helios (; ""Hēlios""; Latinized as ""Helius""; in Homeric Greek) is the god and personification of the Sun in Greek mythology. He is the son of the Titan Hyperion and the Titaness Theia (according to Hesiod), also known as Euryphaessa (in ""Homeric Hymn 31"") and brother of the goddesses Selene, the moon, and Eos, the dawn. Helios was described as a handsome young man crowned with the shining aureole of the Sun, who drove the chariot of the sun across the sky each day to earth-circling Oceanus and through the world-ocean returned to the East at night. In the ""Homeric"
"of the sea. He can take the form of all animals of the zodiac. Some lists, cited by Hyginus, of the names of horses that pulled Helios' chariot, are as follows. Helios Helios (; ""Hēlios""; Latinized as ""Helius""; in Homeric Greek) is the god and personification of the Sun in Greek mythology. He is the son of the Titan Hyperion and the Titaness Theia (according to Hesiod), also known as Euryphaessa (in ""Homeric Hymn 31"") and brother of the goddesses Selene, the moon, and Eos, the dawn. Helios was described as a handsome young man crowned with the shining aureole"
"of the original Seven Wonders of the Ancient World was built by the Lindian sculptor Chares between 304 and 293 BC, which took 12 years and was completed in 282 BC. The statue represented their sun god Helios, which stood at the harbour entrance. The ancient city had a well-constructed sewage system as well as a water supply network as designed by Hippodamus. A strong earthquake hit Rhodes about 226 BC, badly damaging the city and toppling the Colossus. In 164 BC, Rhodes came under Roman control. It was able to keep its beauty and develop into a leading center"
"of their siege equipment. To celebrate their victory, the Rhodians sold the equipment left behind for 300 talents and decided to use the money to build a colossal statue of their patron god, Helios. Construction was left to the direction of Chares, a native of Lindos in Rhodes, who had been involved with large-scale statues before. His teacher, the sculptor Lysippos, had constructed a bronze statue of Zeus at Tarentum. Construction began in 292 BC. Ancient accounts, which differ to some degree, describe the structure as being built with iron tie bars to which brass plates were fixed to form"
"is the obelisk of the Temple of Ra-Atum erected by Senusret I of Dynasty XII. It still stands in its original position, now within Al-Masalla in Al-Matariyyah, Cairo. The high red granite obelisk weighs 120 tons (240,000 lbs). Heliopolis is the latinized form of the Greek name ""Hēlioúpolis"" (), meaning ""City of the Sun"". Helios, the personified and deified form of the sun, was identified by the Greeks with the native Egyptian gods Ra and Atum, whose principal cult was located in the city. Its native name was """" (""The Pillars""), whose exact pronunciation is uncertain because ancient Egyptian recorded"
"mainstream traditional religious veneration of Helios, which had become enriched with ethical values and poetical symbolism in Pindar, Aeschylus and Sophocles, and the Ionian proto-scientific examination of Helios the Sun, a phenomenon of the study Greeks termed ""meteora"", clashed in the trial of Anaxagoras c. 450 BC, a forerunner of the culturally traumatic trial of Socrates for irreligion, in 399 BC. In Plato's ""Republic"" (516 B), Helios, the Sun, is the symbolic offspring of the idea of the Good. While the predominance of Helios in Sparta is currently unclear, it seems Helen was the local solar deity. The Etruscan god"
"whatever, pagan or Christian. The traditional image of the Sun has also been used in early Jewish art. A mosaic floor in Hamat Tiberias presents David as Helios surrounded by a ring with the signs of the zodiac. As well as in Hamat Tiberias, figures of Helios or Sol Invictus also appear in several of the very few surviving schemes of decoration surviving from Late Antique synagogues, including Beth Alpha, Husefa, all now in Israel, and Naaran in the West Bank. He is shown in floor mosaics, with the usual radiate halo, and sometimes in a quadriga, in the central"
"water of a fountain. It depicts Aethon, Eous, Phlegon, and Pyrois - the four horses of Helios, Greek god of the sun. The sculpture was installed in 1992 in a fountain under a canopy at the base of the building at 1 Jermyn Street, on the corner where Piccadilly meets Haymarket, near Piccadilly Circus in London. The building is adjacent to the Criterion Theatre, and was installed when the theatre was refurbished. The ""Daughters of Helios"" or "" Three Graces"" depicts the three Charites - Aglaea, Euphrosyne, and Thalia - who in some accounts are the daughters of Helios and"
"Charioteer of Delphi The Charioteer of Delphi, also known as ""Heniokhos"" (, the rein-holder), is one of the best-known statues surviving from Ancient Greece, and is considered one of the finest examples of ancient bronze sculptures. The life-size (1.8m) statue of a chariot driver was found in 1896 at the Sanctuary of Apollo in Delphi. It is now in the Delphi Archaeological Museum. The statue was set up at Delphi to commemorate the victory of the tyrant Polyzalus of Gela in Sicily and his chariot in the Pythian Games of 470 BC, which were held at Delphi in honor of"
"Hymn to Helios"", Helios is said to drive a golden chariot drawn by steeds (""HH"" 31.14–15); and Pindar speaks of Helios's ""fire-darting steeds"" (""Olympian Ode"" 7.71). Still later, the horses were given fire related names: Pyrois, Aeos, Aethon, and Phlegon. The equivalent of Helios in Roman mythology was Sol. The Greek ἥλιος is the inherited word for the Sun, from Proto-Indo-European ""*"", which is cognate with Latin ""sol"", Sanskrit ""surya"", Old English ""swegl"", Old Norse sól, Welsh ""haul"", Avestan ""hvar"", etc. The name Helen is thought to share this etymology, and may express an early alternate personification of the sun"
"the name Helios, or the sun, and he explained that this was because Saturn was the most conspicuous of the planets. The best known story involving Helios is that of his son Phaethon, who attempted to drive his father's chariot but lost control and set the earth on fire. If Zeus had not interfered by throwing a thunderbolt at Phaethon, killing him instantly, all mortals would have died. Helios was sometimes characterized with the epithet Panoptes (""the all-seeing""). In the story told in the hall of Alcinous in the ""Odyssey"" (viii.300ff.), Aphrodite, the consort of Hephaestus, secretly beds Ares, but"
"to touch the ground behind him. The statue appears to be made of bronze, and had a segmented construction entirely composed of numerous individual plates. Helios raises his right hand to shield his eyes from the sun that he is the god of, giving ""a vaguely Surrealist touch"" to Dalí's work. In the lower right is signed ""Salvador Dalí / 1954"". Dalí's greatest connection with surrealism came before 1940, when his works explored the subconscious and his perception of the world. ""The Persistence of Memory"", one of the works with which he is most identified, came in 1931, representing a"
"as a byname for the sun-god, whence come common references in later European poetry to Phoebus and his car (""chariot"") as a metaphor for the sun but, in particular instances in myth, Apollo and Helios are distinct. The sun-god, the son of Hyperion, with his sun chariot, though often called ""Phoebus"" (""shining"") is not called ""Apollo"" except in purposeful non-traditional identifications. Despite these identifications, Apollo was never actually described by the Greek poets driving the chariot of the sun, although it was common practice among Latin poets. Therefore, Helios is still known as the ""sun god"" – the one who"
"of the Sun, equivalent to Helios, was ""Usil"". His name appears on the bronze liver of Piacenza, next to ""Tiur"", the moon. He appears, rising out of the sea, with a fireball in either outstretched hand, on an engraved Etruscan bronze mirror in late Archaic style, formerly on the Roman antiquities market. On Etruscan mirrors in Classical style, he appears with a halo. In Late Antiquity a cult of ""Helios Megistos"" (""Great Helios"") (Sol Invictus) drew to the image of Helios a number of syncretic elements, which have been analysed in detail by Wilhelm Fauth by means of a series"
"The Horses of Helios The Horses of Helios, also known as The Four Bronze Horses of Helios, is a bronze sculpture of four horses by Rudy Weller. It is one half of a commission installed in 1992 when the adjacent Criterion Theatre was refurbished. The other half, the ""Daughters of Helios"" or ""Three Graces"", is a sculpture of three women leaping off the building six stories above. ""The Horses of Helios"" comprises three bronze elements with dark patina: one pair of horses weighing approximately 4 tons, and two single horses. The four rearing horses appear to be bursting from the"
"we have detailed images of the episode, 150 years earlier, dated to around 400 BCE."" In the Cretan dialect, ""talôs"" was the equivalent of the Greek ""hêlios"", the Sun: the lexicon of Hesychius of Alexandria notes simply ""Talos is the Sun"". In Crete, Zeus was worshipped as ""Zeus Tallaios"", ""Solar Zeus"", absorbing the earlier god as an epithet in the familiar sequence. The god was identified with the ""Tallaia"", a spur of the Ida range in Crete. On the coin from Phaistos (""illustration"") he is winged; in Greek vase-paintings and Etruscan bronze mirrors he is not. The ideas of Talos"
"Metropolitan Museum of Art. On painted wares from south Italy, radiant lines or simple haloes appear on a range of mythic figures: Lyssa, a personification of madness; a sphinx; a sea demon; and Thetis, the sea-nymph who was mother to Achilles. The Colossus of Rhodes was a statue of the sun-god Helios and had his usual radiate crown (copied for the Statue of Liberty). Hellenistic rulers are often shown wearing radiate crowns that seem clearly to imitate this effect. Further afield, Sumerian religious literature frequently speaks of ""melam"" (loaned into Akkadian as ""melammu""), a ""brilliant, visible glamour which is exuded"
"among Hellenic peoples. The female offspring of Helios were called Heliades. The Greek sun god had various bynames or epithets, which over time in some cases came to be considered separate deities associated with the Sun. Most notably, Helios is closely associated with, and sometimes consciously identified with, Apollo. Among these is Hyperion (""superus"", ""high up""), ""Elektor"" (of uncertain derivation, often translated as ""beaming"" or ""radiant"", especially in the combination ""elektor Hyperion""), Phaëton ""the radiant"", ""Hekatos"" (of Apollo, also ""Hekatebolos"" ""far-shooter"", i.e. the sun's rays considered as arrows). Diodorus Siculus of Sicily reported that the Chaldeans called Cronus (Saturn) by"
"device of a head or bust of Helios, with a crown of rays above seemingly rich curly voluminous hair. This emblem could be an allusion to the fair looks of Echedemos, paralleling the comparison to Apollo in an epigram by Artemon. A portrait on a ring from the Walters Art Museum in Baltimore was tentatively identified as that of Echemedos. The portrait is a garnet intaglio of circa 220 BC. It is set into an original elaborate gold swivel ring. The work can be confidently dated as it is signed by engraver Apollonios (ΑΠΟΛΛΩΝΙΟ[Σ or Υ]), who also carved and"
"harbor in Stockholm. Robert Allerton commissioned a reduced size copy in 1929, but the artist sent a 16-foot full−size casting instead. After the statue arrived John Gregg Allerton designed a three−tiered platform styled after the Altar of Heaven in the Forbidden City of Beijing as a base in 1932. The statue depicts the Greek sun god Apollo. On his helmet is the winged horse Pegasus, and relief figures of the nine Muses surround the base. Under his right foot is a tortoise, an allusion to the first lyre made of tortoise shell by Hermes and given to Apollo. ""The Sun"
"both by the Macedonian royal dynasty (e.g. on coins) as well as in Hellenistic civilization more generally. The symbol represents the Sun god (Helios), which was taken as the patron deity of the Argead dynasty based on the foundational legend about Perdiccas I of Macedon as told by Herodotus. In the early 1980s, following the discovery of the larnax, there was some debate as to whether the symbol should be considered the ""royal emblem"" of the Argeads specifically. Αs Eugene Borza (1982) pointed out, the symbol was widely used in Hellenistic-era art, and Adams (1983) emphasized its use as a"
"heliocentric model of the solar system. The historian Herodotus, known by his Histories resided in Samos for a while. There was a school of sculptors and architects that included Rhoecus, the architect of the Temple of Hera (Olympia), and the great sculptor and inventor Theodorus, who is said to have invented with Rhoecus the art of casting statues in bronze. The vases of Samos were among the most characteristic products of Ionian pottery in the 6th century. For some time (about 275–270 BC) Samos served as a base for the Egyptian fleet of the Ptolemies, at other periods it recognized"
"(""shining""). Helios is sometimes identified with Apollo: ""Different names may refer to the same being,"" Walter Burkert observes, ""or else they may be consciously equated, as in the case of Apollo and Helios."" In Homeric literature, Apollo is clearly identified as a different god, a plague-dealer with a silver (not golden) bow and no solar features. The earliest certain reference to Apollo identified with Helios appears in the surviving fragments of Euripides' play ""Phaethon"" in a speech near the end (fr 781 N²) – Clymene, Phaethon's mother, laments that Helios has destroyed her child, that Helios whom men rightly call"
"not have been built with its legs apart without collapsing from its own weight. Many researchers have considered alternative positions for the statue which would have made it more feasible for actual construction by the ancients. There is also no evidence that the statue held a torch aloft; the records simply say that after completion, the Rhodians kindled the ""torch of freedom"". A relief in a nearby temple shows Helios standing with one hand shielding his eyes, similar to the way a person shields their eyes when looking toward the sun, and it is quite possible that the colossus was"
"the building. Demolition work began in February 2015. As of April 2016 only Studios TC1, TC2 and TC3 remained, the other studios TC4, TC5, TC6, TC7 and TC8 had now all been demolished. The statue of Helios, the Greek God of Sun, had been removed for renovation before it returns to the redevelopment at Television Centre later in 2016. Developer Stanhope and construction manager Mace have carefully removed the gilded bronze figure with heritage experts PAYE Conservation for repair and renovation. The Helios has stood in the rotunda at Television Centre since the former BBC headquarters opened in 1960. BBC"
"Cattle of Helios In Greek mythology, the Cattle of Helios (, ""Ēelíoio bóes""), also called the Oxen of the Sun, are cattle pastured on the island of Thrinacia (believed to be modern Sicily). Helios, also known as the sun god, is said to have had seven herds of oxen and seven flocks of sheep, each numbering fifty head. In the ""Odyssey"", Homer describes these immortal cattle as handsome (), wide-browed, fat () and curved-horned (). The cattle were guarded by Helios’ daughters, Phaëthusa and Lampetië, and it was known by all that any harm to any single animal was sure"
"Temple of Helios, which sits atop the Sun Chariot, which has plummeted to Earth in Helios' absence. Boreas, Zephyros, Euros, and Notos, gods of the north, west, east, and south winds, respectively, reside in the temple and guide the chariot. The Caves of Olympus is an underground cavern below Mount Olympus and houses the goddess Eos, the Primordial Fires, and a statue of Triton. The Underworld is the underground realm of the dead and is host to the River Styx and ferryman of the dead, Charon. Tartarus is the prison of the dead and the Titans where the massive Titan"
"and name"", as changing one letter makes his name ""Helios""; but he does not identify the two. A homily entitled ""De ascensione Heliae"", misattributed to Chrysostom, claims that poets and painters use the ascension of Elijah as a model for their depictions of the sun, and says that ""Elijah is really Helios"". Saint Patrick appears to conflate Helios and Elias. In modern times, much Greek folklore also connects Elias with the sun. In Greece, chapels and monasteries dedicated to Prophet Elias (Προφήτης Ηλίας) are often found on mountaintops, which themselves are often named after him. Since Wachsmuth (1864), the usual"
"the Greeks, he was Helios, carried by a chariot drawn by fiery horses. From the reign of Elagabalus in the late Roman Empire the Sun's birthday was a holiday celebrated as Sol Invictus (literally ""Unconquered Sun"") soon after the winter solstice, which may have been an antecedent to Christmas. Regarding the fixed stars, the Sun appears from Earth to revolve once a year along the ecliptic through the zodiac, and so Greek astronomers categorized it as one of the seven planets (Greek ""planetes"", ""wanderer""); the naming of the days of the weeks after the seven planets dates to the Roman"
"Honos Honos or Honor was the Roman god personifying honor. He was closely associated with Virtus, the goddess of manliness, or bravery, and the two are frequently depicted together. Honos is typically shown wearing a chaplet of bay leaves, while Virtus is identified by her helmet. In 234 BC, Quintus Fabius Maximus Verrucosus dedicated a temple to Honos just outside the Porta Capena, one of Rome's principal gates, following his victory over the Ligures. Twelve years later, after Marcus Claudius Marcellus defeated and slew the Gallic king, Viridomarus, at the Battle of Clastidium, to win the ""spolia opima"", he vowed"
"absorbed the role of the chief Phrygian god Sabazios in the syncretic deity known in Rome as Sabazius. The Seleucid ruler Antiochus IV Epiphanes erected a statue of Zeus Olympios in the Judean Temple in Jerusalem. Hellenizing Jews referred to this statue as Baal Shamen (in English, Lord of Heaven). Zeus is occasionally conflated with the Hellenic sun god, Helios, who is sometimes either directly referred to as Zeus' eye, or clearly implied as such. Hesiod, for instance, describes Zeus's eye as effectively the sun. This perception is possibly derived from earlier Proto-Indo-European religion, in which the sun is occasionally"
"villa. The Greek architect Zenodorus designed the statue and began construction between A.D. 64 and 68. According to Pliny the Elder, the statue reached 106.5 Roman Feet () in height, though other sources claim it was as much as . Shortly after Nero's death in A.D. 68, the Emperor Vespasian added a sun-ray crown and renamed it ""Colossus Solis"", after the Roman sun god Sol. Around 128, Emperor Hadrian ordered the statue moved from the Domus Aurea to just northwest of the Colosseum (""Amphitheatrum Flavianum""), in order to create space for the Temple of Venus and Roma. It was moved"